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L'italie Du Xvi° Et Du Début Du Xvii° Siècle – Histoire Du Madrigal

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L'italie Du Xvi° Et Du Début Du Xvii° Siècle – Histoire Du Madrigal L'Italie du XVI° et du début du XVII° siècle Histoire du madrigal Naissance de l'opéra et de l'oratorio FESTIVAL du COMMINGES - Auteur : Gérard BEGNI – Edition 1, Juillet 2015 1 Page de garde, de g. à dr. et de haut en bas : • Isabelle D’ESTE (1474 – 1539), formée jeune fille à la cour de Ferrare, épousa en 1490 François II de Mantoue, ville où elle fut accueillie et adoptée avec enthousiasme. Elle favorisa le développement artistique de Mantoue d’une manière décisive, et s’acquitta également de missions politiques délicates. Elle devint la référence en matière d’élégance et de raffinement. Dans son ‘studioletto’, elle était le mécène d’une cour d’hommes de lettres, musiciens et peintres dont Andrea MANTEGNA (1431-1506) qui fut un des foyers de l’humanisme de la Renaissance. • Giovanni BARDI comte de Vernio (1534 - 1612) fut un écrivain, compositeur et critique d'art italien de la Renaissance, promoteur et protecteur de la ‘Camerata fiorentina’ à laquelle on donna son nom : ‘Camerata Bardi’. Il s'est illustré comme mécène dans une approche multidisciplinaire visant à retrouver l’esprit de l’art antique, et notamment de la tragédie. Ainsi fut promu le style du ‘recitar cantando’ qui conduisit au premier opéra de l’histoire de la musique, la ‘Dafne’ de Jacopo PERI et en 1600 au premier opéra conservé, l’ ‘Euridice’ du même PERI , donné aux noces d’Henri IV de France et de Catherine de Médicis (voir Annexe 6). • Cipriano DE RORE (1515-1565) occupa divers postes prestigieux en Italie. Il est l’archétype du franco-flamand parfaitement italianisé, ayant assimilé à la fois le génie de la langue et des aspirations musicales de la péninsule. Il sut s’imposer comme l’un des plus grands madrigalistes et chefs de file de l’évolution du madrigal. Il est en particulier l’auteur du très célèbre ‘ ancor che col partire’. Son œuvre religieuse est également de grande qualité. • Claudio MONTEVERDI fut sinon l’inventeur du moins le compositeur de génie qui imposa la ‘seconda prattica’, écrivant des œuvres de génie pour voix soliste (ou ensembles de voix) et basse continue, sans pour autant y introduire un quelconque académisme ni se couper inutilement des glorieuses traditions de l’art franco-flamands quand elles servaient la cause de sa musique. Longuement étudié ici, objet d’un fascicule dédié disponible à travers le site Internet du ‘Festival de Comminges’ où il fut à l’honneur lors de sa 40° édition en 2015, il fut l’un des grands novateurs de la musique savante occidentale. Le célèbre ‘Lamento d’Arianna’, seule page qui nous reste de l’opéra éponyme de Monteverdi (1608) , détruit lors de l’incendie du plais de Mantoue en 1628 par les troupes du Saint-Empire romain germanique. Le succès de cet air ‘qui fit pleurer les dames’ provoqua immédiatement une large diffusion qui le sauva de la perte . On notera la subtilité de l’utilisation des 6° et 7° degrés mobiles, le la mineur initial et la cadence résolument tonale en ré mineur . Monteverdi réadapta cet air d’une part en madrigal (livre VI), d’autre part dans ses ‘ Selva Morale e Spirituale’ avec des paroles religieuses (‘ pianti della madonna’ ). 2 SOMMAIRE 1 - LE MADRIGAL ITALIEN AU XVI° ET AU DEBUT DU XVII° SIECLE ................................................................................ 6 1.1 – Préambule ............................................................................................................................................................. 6 1.2 – Aux origines : la ‘ frottola ’ et les genres apparentés. ............................................................................................ 7 1.3 - L’ ‘aristocratisation’ de la ‘ frottola ’. ....................................................................................................................... 8 1.4 – Les débuts du madrigal ......................................................................................................................................... 8 1.4.1 – Le premier livre de madrigaux et ses suites ................................................................................................... 8 1.4.2 – Italianisation et spécificité .............................................................................................................................. 8 1.5– L’âge d’or du madrigal : autour de Cipriano de Rore ............................................................................................. 9 1.5.1 – Cipriano de Rore ............................................................................................................................................. 9 1.5.2 – Nicola Vincentino............................................................................................................................................ 9 1.5.3 -Luzzasco Luzzaschi ........................................................................................................................................... 9 1.5.5 - Giaches de Wert ............................................................................................................................................ 10 1.6 – L’âge d’or du madrigal : Luca Marenzio, ‘il piu dolce cigno d’Italia’ ................................................................... 10 1.7 – Quelques regards latéraux .................................................................................................................................. 11 1.7.1. Palestrina. ....................................................................................................................................................... 11 1.7.2 – Roland de Lassus .......................................................................................................................................... 11 1.7.3 – Philippe de Monte ........................................................................................................................................ 11 1.8 – Monteverdi « maître d’humanité » et la révolution de la ‘ seconda prattica’ .................................................... 12 1.9 – Les contemporains de Monteverdi, dont deux compositeurs remarquables. .................................................... 13 1.9.1 – Le futur immédiat ......................................................................................................................................... 13 1.9.2 – Sigismondo d’India ....................................................................................................................................... 14 1.9.3 – Carlo Gesualdo ............................................................................................................................................. 14 2 – NAISSANCE de l’OPERA. PREMIERS CHEFS d’ŒUVRE ........................................................................................... 16 2.1 –Généralités sur la naissance de l’opéra ............................................................................................................... 16 2.1.1 – L’intermezzo ................................................................................................................................................. 16 2.1.2 – Le laboratoire de la ‘ Camerata Bardi’ .......................................................................................................... 16 2.2 – La ‘Pellegrina’ ...................................................................................................................................................... 16 2.3 – La ‘ Dafne ’ de Peri (et Corsi) et l’ ‘Euridice’ de Peri (et Caccini) ........................................................................... 17 2.3.1 - Dafne ............................................................................................................................................................. 17 2.3.2 - Euridice .......................................................................................................................................................... 17 2.4 – L’Orfeo de Monteverdi ........................................................................................................................................ 18 2.4.1 – Un temps de latence chez Monteverdi ........................................................................................................ 18 2.4.2 - Les circonstances de la création de l’Orfeo ................................................................................................... 18 2.4.3 – Les caractéristiques majeures prodigieusement novatrices de l’Orfeo ....................................................... 19 2.5 – L’opéra à Rome au début du XVII° siècle ............................................................................................................ 22 2.6 – L’opéra à Venise au début du XVII° siècle ........................................................................................................... 22 2.6.1 – Monteverdi de Crémone à Venise : Un répertoire perdu sans retour. ........................................................ 22 2.6.2 – L’opéra à Venise. Le rôle multiple de Monteverdi. ...................................................................................... 23 3 2.7. Les deux ultimes opéras de Monteverdi à Venise. .............................................................................................. 25 2.7. 1 - ‘Il ritorno d’Ulisse in patria’ .......................................................................................................................... 25 2.7.2 – ‘L’incoronazione di Poppea’ .........................................................................................................................
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